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Contemporary Process In Architectural

Design

Jocelyn
Marieswari
Amreen Hairuneesha
Tanushree

MEASI ACADEMY OF ARCHITECTURE


INTERNATIONAL - Zaha Hadid Architec
Hadid is considered as the most imaginative architect
among her colleagues based on

1) The number of projects she has designed (950


projects )- 80 completed
2) The number of prizes she got (93 prizes)
3) The richness of various concepts she conducts

Iraqi architect - Born in 1950


Zaha Hadid Strategy of design
Zaha Hadid Techniques In
design
Abstraction and Fragmentation
Idea of the Ground and Gravity
Landscaping Project and the Surrounding
Context
LAYERING
PLAY OF LIGHT
Seamlessness and Fluidity

Seamlessness and fluid-ity are noticeably prevalent characteristics in almost of


Hadid projects especially recent ones. She gets inspiration for this technique from
the complexity of form in nature, Arabic calligraphy, and the natural seamless flow
of the landscapes in Sumerian village, Iraq that happens between reeds, water,
and sand creating an amazing view
1. The formative relationship between plan and elevation or section Sub-Techniques
Sub-Techniques
2. Reflecting Project’s Form in the Interior Design of Space
Zaha Hadid’s Patterns of Form

Forms of this pattern characterized by:


1) Using fundamental geometric forms.
2)Utilizing analogous forms . 1)Are inspired from the natural
3)Defying gravity landscape formation; the surface outline
4)Abstraction of the earth
5)Fragmentation 2)Fade to join the earth giving the sense
6)Conceiving masses in prospective ofof affiliation
three points. 3)Have seamless and fluid surfaces
7)Manipulating the ground of different 4)Have the features of withdrawing.
Zaha Hadid’s Patterns of Form

1)Having watery, amorphous (formless)


surfaces; the fluid of Arabic calligraphy
2)Gradually faded to join the earth.
3)Continuous curved surfaces
4)Having kinetic interior designs that could
serve as multipurpose and multifunctional
spaces.
5)Rarely using corner and orthogonal angle
6)Windows and entrances take the same fluid
form of the masses.
Zaha Hadid’s Patterns of Form

Forms of this pattern Forms of this pattern characterized by:


1) Inspired from nature such as animals or 1)Parametrically flexible which
plants differentiate progressively to meet all the
2) Have irregular surfaces and often requirements
asymmetrical 2)Having fluid, compressed, torsional,
3) Have fluid, seamless, and curvy and twisted forms.
surfaces 3)Responsive to environment
4) Intimately merged within the context and 4)Some have a reticular, perforated skin.
site because of the familiarity of their
notions with the site.
The Used and Ignored Architectural Form Principles by Hadi
CASE STUDY

Zaha Hadid’s Heydar Aliyev Cultural Centre


Azerbaijan , Europe and Asia.
Zaha Hadid’s Heydar Aliyev Cultural Centre : Turning a Vision into Realit

Zaha Hadid Architects’ 57,519 m2


(approx. 619,129 sq. ft.)

Heydar Aliyev Cultural Centre, a m


venue featuring a conference hall
and museum, is scheduled to ope
September 2011 in the city of Bak
Azerbaijan.
Layered curved volumes are clad in pristine,
white tiles

The form is a series of thickened and


graduated curved that allow the entrance
of natural light
This is Cultural Center in Baku from Zaha DIGITAL FABRICATIONS TECHNIQ
Hadid. The surface is about 35.000 square
meters of GRC or GRP panel or
THE ROD
individuals shaped curves and so on. DETAIL

There was a system which relied on the space frame, which is the main structural
build up. It is a Mero system , and we had at three meters centers always a rod
sticking through the insulation and water-proofing layer, this element.

Where then you can connect with the substructure which is holding up the façade.
Here you can see, this is the Mero and the ball and then you have the rod sticking
So the detail of the node is always the And it was build out of twenty individual arc
same. Of course the geometry is different. sections, arcs. As you see in the color
coding, each different color has a different
20mm steps between
the arcs of the
curvature. We take the
base length of the three
meters, some of them
are flat, the white ones
are flat, and they are
straight.

The maximum curvature


which is in the building
and therefore we have
twenty different arcs
which are covering the
whole curvature
scenario of the surface.
Double curved topological surfaces
form gigantic and complex
asymmetrical shells.

The fluidity of the


building recalls what
one finds is other forms Glass fibre,
of Islamic art such as reinforced, concrete
calligraphy. and glass panels,
many unique, were
used in the
construction.
NURU KARIM
Nu.De Architecture
Design Philosophy

• Experimental space.
• He engages architecture
as an open system of
interrelated issues
ranging from architectural
typology, digital
methodologies,
sustainability, structure,
fabrication, materiality,
tactility, and "a web of
larger networks which are
social, cultural and
environmental in nature.”
both in design and
production largely as a
systems
The basedto
ability of the 'digital'
approach.
augment "design history" [in
parametric computational
design] as an editable entity
enables the transformation
of 'design histories' into
'design futures'.

Transfer of Technologies
and 'smart materials' are
significant in this
CHARKHA-SPINNING process ."
Design philosophy

• Nature is a huge
source of inspiration
behind his admiring
projects.
• Biomimicry - nature
as mentor, model,
and measure,
"because animals,
plants and microbes
Woven Thread Pavilion are the consummate
Mumbai
engineers.
iTEPEE-Urban Tent
-by NURU KARIM

Design :NURU
KARIM
Client :ASIAN
PAINTS LTD.,
Location :INDIA
-Driven by ideology of CO-EXPLORE
DESIGN,
-Kinetic energy converted to Mechanical
NEW DELHI,INDIA
Energy
-An Urban Residential Tent pitched either
indoor/outdoor
BASIC MECHANISM OF
HOW IT WORKS:
-As one pedals to a healthy
lifestyle
energy is stored and used to
power domestic appliances
PLACEMENT:
-Used anywhere in
penthouse of roof tops,
gardens,open to sky
spaces,etc

-Explored with
elements of
nutrition
Interacting at
house hold
levels
-Varied forms of
passive
recreation,yoga,
DIGITISING THE STRUCTURE OF THE URBAN TENT:
MATERIALS
PATTERN OF THE iTEPEE:
-Colours accentuate the morphology and
pattern
-The alternating panel configuration is
shaded in contrast Pastel hues
- add a sense of play and dynamism to the
configuration
BAD Cafe
Client : BAD CAFE
Location : Bandra
West, Mumbai
Type : Hospitality
Status : Completed
Bad Café was built on
the idea of human
skin, executed through
exposed perforations
-Comprising of a café
area and yoga studio,
the space is divided
CONCEP
into three levels
T-Built with the vision
of a breathing skin
which they deemed
as the Breathing
Facade because it
connects the inside
and outside of BAD
THE FACADE

-The PVC pipes are recycled


and are therefore environment
friendly.
-There are a total of 25992 PVC
pipes throughout the space
SPACES WITHIN:
-There is a space for the soul
(represented by the café area)
-for the body (represented by the
yoga studio)
- a space designated for the mind
(with the library and dedicated
community centre area) The multi-levelled monochrome interiors:
-A dilapidated building,
contemporary in structure but
extremely chaotic with small cellular
rooms
-Perforations and pipes inside were
left exposed with light streaming in
as this fibrous nature of the interiors
GENERATIVE
DESIGN:
-Variations made in one
object affects all the
associated objects
establishing
interdependencies
ASSOCIATIVE TYPE OF
.FORMAL MODELLING
Woven Thread Pavilion / Nu.De

Design: NURU KARIM


Client: DuPont Corian
Location: Mumbai,
Maharashtra, India

The Pavilion could potentially


host a number of public space
The idea is
to interlace
nature and
architecture,
enabling the
design of
hybridized,
biological
structures.

This intercourse of design and


systems in nature is
manifested through
4 modules and can be
incrementally grown based on
site / environmental
conditions.
The Pavilion design comprises of 4 nos
modules and can be incrementally grown
based on user requirements.

The Pavilion could potentially host a


number of activities and events, both active
and passive in nature based on the
constraints of the module size.

The design process includes digital design


tools and digital fabrication processes
including CNC milling, creation of mould
designs and thermoforming to complete
the complex assembly.

The design system is structural and


supports its self-weight. Approx. 685 RFT
CHARKHA / Nu.DEe

Design: NURU KARIM


Client : Tata Steel
Location : Cross Maidan,
Mumbai
Type : Public Art
‘Spinning wheel’ symbol promoted by
mahatma gandhi to illustrate
contemporary india’s spectrum of social
and cultural dimensions.

Representing the notion of ‘unity in


diversity’ as well as the nation’s richness
of multi cultures.
CHARKHA / Nu.DEe

• Composed of a series of triangular frames


• The sculptural piece is a spatially dynamic structure that seemingly shifts in form
depending on the viewer’s vantage point.
•Three curving columns serve as the framework’s
backbone, allowing the installation to cantilever in one direction before returning
to the 9m x 9m base.
•Each of the triangular units are individually unique.
CHARKHA / Nu.DEe

Triangular Frame Components


CHARKHA / Nu.DEe

•Developed using a digital applet, the


spiralling gesture of a spinning wheel was
explored with multiple
parameters in play: diameter, density,
speed, and geometries.

•The sculpture was prefabricated in six


separate pieces before being assembled
on site.
CHARKHA / Nu.DEe

Digitally produced physical model


CHARKHA / Nu.DEe

Wire Frame Studies


CHARKHA / Nu.DEe

3D Model
Sources
1. Research Symposium 2005:Design as Research, Patrik Schumacher
2. AmatalRaof AbdUllah, Ismail Bin Said, DilshanRemaz Ossen, Sciknow
Publications Ltd. Open Journal of Architectural Design